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Tickets for the exhibition are now on sale, and are priced at £20 (Monday-Friday), £24 (Saturday-Sunday), and concessions, including family tickets at reduced prices, are available. Advance booking is strongly advised.
Yesterday, an Abbey Road recording console used by Pink Floyd during some of the recording of The Dark Side of the Moon, sold at auction at Bonhams New York. The pre sale estimate of £550,000 for the 40–channel EMI TG12345 MK IV console was easily eclipsed by the final selling price of $1,807,500 (£1,441,842). This is a new world record for an item of technology, the previous record being £718,000 paid for an Apple 1 computer in 2014. It is also easily the most expensive piece of Pink Floyd memorabilia to date.
The console, made in 1971, was housed in Studio 2 at Abbey Road Studios, and used by a variety of artists. Other than Pink Floyd, these included the likes of Paul McCartney, George Harrison, Ringo Starr and Kate Bush.
THE FIRST STUDIO RECORDINGS FROM THE CLASSIC 60s PINK FLOYD LINE UP RELEASED FOR RECORD STORE DAY ON LIMITED EDITION 12″ PICTURE DISC VINYL
Pink Floyd’s ‘London 1966/1967’ was originally recorded for Peter Whitehead as part of his legendary 1967 “Tonite Lets All Make Love In London” film – semi-documentary about the “swinging London” scene of the sixties. The film featured a series of psychedelic performances and interviews and features live performance by Pink Floyd, together with footage of John Lennon, Yoko Ono, Mick Jagger, Vanessa Redgrave, Lee Marvin, Julie Christie, Allen Ginsberg, Eric Burdon, Michael Caine and many others attending one of the band’s concerts.
‘London 1966/1967’ features two rare performances, from classic Floyd era featuring Syd Barrett, when they were at their most adventurous and exploratory, including an explosive 17 minute version of ‘Interstellar Overdrive’, recorded at the legendary Sound Techniques studio in early 1967.
These first ever studio recordings from the classic 1960’s Pink Floyd line-up are available as a special Record Store Day release on eye-catching picture disc vinyl strictly limited to 2,000 copies worldwide.
English cartoonist and satirist Gerald Scarfe created his now iconic illustrations for Pink Floyd The Wall back in the 1980s. His paintings appeared on The Wall album artwork, as projections at the band’s concerts, and in the 1982 film directed by Alan Parker. It’s difficult to listen to the music from that The Wall without recalling them.
Over time Scarfe’s creations have become imagery that is recognized worlwide and synonymous with Pink Floyd.
Now a selection of paintings, which were brought to animated life in the movie, have gone on sale to the public for the first time ever. Scarfe has hand picked 11 artworks from his work on Pink Floyd The Wall which will be sold by The San Francisco Art Exchange LLC (SFAE). There will also be an exhibition in July 2017 which Scarfe will attend at the show’s premier at SFAE’s gallery.
Paintings picked and created by Scarfe include The Scream, Wife With Flaming Hair, Giant Judge and Hammers, The Mother, Education For What? No Jobs!, The Wife’s Shadow, One of The Frightened Ones, The Gross Inflatable Pig, Comfortably Numb, and The Teacher.
The San Francisco Art Exchange press release describes the works as:
“Epic in scale and steeped in rock history, these original works of art are marquis collectibles for major individual, corporate, and institutional collectors. Due to the extensive distribution of the imagery via album, live-performances, music-videos, and the film (along with the accompanying publicity), the artwork offered is among the most instantly recognizable and significant in pop culture.
One of the paintings available for purchase, Giant Judge and Hammers, will be prominently on display in London beginning May 13, 2017 as part of the Victoria & Albert Museum’s eagerly anticipated The Pink Floyd Exhibition: Their Mortal Remains, the first international retrospective of one of the worlds’ most ground-breaking and influential bands. This exhibition is expected to become one of the most successful on record.
Scarfe developed the film’s entire visual environment before the project began and his characters became a mixture of live-action and animated imagery, all of which played an integral role in the surreal narrative.”